Tiancheng Press Release

Total Page:16

File Type:pdf, Size:1020Kb

Tiancheng Press Release PRESS RELEASE FOR IMMEDIATE RELEASE TIANCHENG INTERNATIONAL’S SPRING AUCTION OF MODERN AND CONTEMPORARY ART WILL BE HELD ON 6 APRIL 2013 AT HONG KONG Hong Kong, 28 February - Tiancheng International will present its Spring SaLe of Modern and Contemporary Art on 6 April at The Connaught Room, 1/F of Mandarin Oriental Hong Kong. Seeking to promote the thread of Chinese culture and traditions, Tiancheng International attempts to demonstrate the artists’ contribution of their inheriting and spreading traditional Chinese aesthetic spirits. Inspired by the musical arrangement, the auction is divided into three sections including Overture, Concerto and Symphony to present the development of Chinese Modern and Contemporary Art over the course from the early 20th century till nowadays. Public preview will start from 4 to 5 April at Hong Kong. THE FIRST SECTION – OVERTURE Around the 1920’s, the Qing Dynasty came to an end and the Republic of China was established. Many of those with aspirations flocked to the West to study Western art, building up a robust “New China”. From then on, a series of art revolutions started off. The advocate of art magazines, the birth of many Western art groups and the establishment of specialised art institutions all conceived the tone set for the development of China’s modern art education in the early 20th Century. In particular, as an advocate of “East meets West” and creative freedom, the Hangzhou Arts School paved the way for the eXtension of China’s art history onto far- reaching cultural axes. In the midst of all the collisions between East and West, they composed a passionate overture for the first half of the 20th century. In the 1920’s, Liu Haisu, Xu Beihong and Yan Wenliang were three artists who played key roles in the “New Culture Movement”. They established three ideologies for art education in China and, together, they created a path for inheritance in the development of China’s art education. Amongst, Yan Wenliang’s ideology in his personal artistic creation, which places equal emphasis on fine arts and applied arts, had a profound impact on institutional art education in China, making him an iconic first-generation oil painter in China. 1 Presented at Tiancheng International’s Spring Sale of Modern and Contemporary Art 2013, Roaming in Spring (Image above. Estimate: HK$1,000,000–1,500,000 / US$129,000 – 193,500) was created after Yan Wenliang (1893 - 1988) returned to China from his studies in France in the 1930’s. It demonstrated the results of his early training in Western art and the artist’s skills as he approached the peak of his artistic maturity in his 40’s. The piece uses smooth brushstrokes to depict a natural scenery, with rich layering in both colour and depth, and distinct yet delicate transitions between light and shadow, while eXuding a hint of classical temperament. The ingenuity and skills of the artist are highlighted by the figure and surrounding details in the centre a display of the simple pleasures of pastoral life. Among the first generation of artists in Taiwan to have received Japanese education, Yan Shuilong (1903 - 1997) made tremendous contribution to art education and the promotion of arts and crafts in Taiwan. Set out to promote local art and keep traditional folk art alive, his paintings gradually became centered around the aborigines of Taiwan by taking part in the production and promotion of Taiwan’s public in ceramic mosaic murals from 1960 onward. Lan Yu (Image right. Estimate: HK$800,000 – 1,200,000 / US$103,000 – 155,000), offered by Tiancheng International this season, combines the most prominent elements in Yan Shuilong’s painting: the emphasis on the independence of colours; the combination of highly pure colour blocks to create contrasting light and shadow; the attention to detail in both the subject and in decorative elements; the meticulous use of lines with an emphasis on leading lines that brings focus to the elegant curves of the boat, giving it a sense of rhythm and the lines eXtending outward for an added sense of two-dimensional space. This piece not only offers a visual feast of geometric blend of light and colours, but also shows the rustic lifestyle of Lan Yu aborigines and a passion for the land of Taiwan. THE SECOND SECTION – CONCERTO In the second half of the twentieth century, with the shuffle of world’s economic and cultural centre, the United States became the new world for the artists to heal their broken world view and spiritual boundaries during the World War II. Amongst, some Asian artists derived the inspiration from their home culture, harmonised it with the mainstream ideology and created a brand new artistic form more concentrating on their individual thoughts and creativity. 2 Liu Guosong (1932-) has an abundance of creativity and a pioneering spirit, and has been charging ahead in his path to reform. He has been active in the modernization of ink art across Greater China, and is committed to bringing in new concepts and techniques from European and American art and carrying on the deeply rooted traditions in Chinese painting. He is one of the most eminent ink artists in Asia, and he continues to foster the emergence of eXciting eXperiments and innovations in ink painting. When the first man landed on the moon in 1969, Liu Guosong drew on the Eastern philosophy on cosmology based on the elements of squares and circles and applied his skills in spray painting, lithography and a technique involving his own type of special paper, to depict the correspondence between the sun, the moon and the earth, the product is a series called Which is Earth?. Rising Silver Moon (Image left. Estimate: HK$360,000 – 460,000 / US$46,500 – 59,400) is a classic piece in this series from the 1970’s. It presents an artistic charm that arouses a desire for more, and leads the imagination to move along with one’s vision, towards seemingly limitless time and space. In the midst of meditation, a perfect world of heaven, earth and man is created. THE THIRD SECTION – SYMPHONY In the new century, the Chinese people are emerging in various fields. We have reconnected with long-lost cultural traditions, and are gradually rediscovering our confidence as a nation and our self-awareness. In today’s flourishing art scene, whether through landscape, figure painting or lyrical portrayals, the “contemporary literati” are cleverly applying new media and new thinking to transform deeply-rooted Eastern ideologies into new visual and sensory eXperiences, presenting the best that each has to offer; like a perfectly arranged symphony, they immerse themselves in the moment to play magnificent music. In the new wave of innovative Chinese painting, young artist Hao Shiming (1977-) is undoubtedly one eXponent of mature techniques and unique artistic language. The Big Bird Series (Image right. Estimate: HK$60,000 - 80,000 / US$7,700 – 10,300) is Hao Shiming’s independent series apart from his paintings of people, a series that showcases remarkable visual 3 effects. The work is centred around birds, using lines to construct the shape, which from a distance resembles the casual and dynamic sketching created by an ink brush. Those who take a closer look will be amazed by the ingenuity, as it is not only overlapping lines that form the shape of bird, but the entire image is constructed with “colour blocks” created by double-stroke lines. The elongated colour blocks are clearly layered and interlace with each other in arrangement, “weaving” the treetop that stands in the middle of the painting, as well as the bird that is busily glancing left and right. The artist uses the delicate bristles of the ink brush, which seemingly would separate and break at the movement of an animal, coupled with writhing light ink lines in the background that enhance the liveliness of the bird. The artist also uses an elegant and soft beige grey as the main colour tone so as to strike a balance with the rhythm of the linear elements, thereby rendering the boundless vitality of nature while remaining gentle and pleasing to the eye. OTHER SALE HIGHLIGHTS LIN FENGMIAN (1900 - 1991) HYDRANGEA Chinese ink and colour on paper 40 X 50 cm Estimate: HK$ 1,000,000 – 1,200,000 US$ 130,000 – 155,000 WU GUANZHONG (1919 - 2010) PINE FOREST ink and colour on paper 68 x 68 cm Estimate: HK$ 900,000 – 1,500,000 US$ 116,000 – 193,500 4 HE JUN (B. 1970) SENTIMENTAL JOURNEY acrylic on canvas 200 x 150 cm eXecuted in 2012 Estimate: HK$ 200,000 – 250,000 US$ 25,800 – 32,300 TIANCHENG INTERNATIONAL‧HONG KONG‧SPRING AUCTIONS 2013 Department Auction Date / Time Auction Venue Preview Date / Time 6 April Fine Chinese (Saturday) The Connaught Room, Paintings 4 – 5 April 3.30 pm 1/F Mandarin Oriental, (Thursday to Friday) 6 April 5 Connaught Road, Central, Modern and 10 am – 6 pm (Saturday) Hong Kong Contemporary Art 5 pm 26 - 27 May Tiancheng International (Sunday to Monday) JeweLLery and 15 June 30/F, Bank of China Tower, 12 – 14 June Jadeite (Saturday) 1 Garden Road, Central, (Wednesday to Friday) Hong Kong 10 am – 6 pm ABOUT TIANCHENG INTERNATIONAL Founded in January 2011, Tiancheng International is a newly established auction house led by a visionary management group and an illustrious team of eXperts with eXtensive eXperience in the international auction business. With solid understanding of the cultural requirements of clients and broad vision to the art world, the team aims to eXplore new frontiers in the Asian auction market.
Recommended publications
  • The Storm Society Primary Sources in Translation from Shanghai Modern
    The Storm Society Primary sources in translation from Shanghai Modern The Storm Society. Guan Liang. Mount Xiqiao. 1935. Oil on canvas; 50.5 x 57 cm. National Art Museum of China, Beijing. Guan Liang. Seated Nude. 1930. Oil on canvas; 60.5 x 45.5 cm. Private Collection. (Shanghai Modern, p. 183). Chen Baoyi. Scenery of West Shanghai. 1944. Oil on canvas; 44 x 52 cm. National Art Museum of China, Beijing. (Shanghai Modern, p. 184) Yan Wenliang. Red Sea. 1928. Oil on paperboard; 179 x 25.7 cm. National Art Museum of China, Beijing. (Shanghai Modern, p. 185). Ni Yide. Portrait of a Lady. 1950s. Watercolor on paper; 31.5 x 275 cm. China Academy of Art, Hangzhou. Situ Qiao. Lassoing Horses. 1944. Oil on canvas; 59 x 99 cm. National Art Museum of China, Beijing (Shanghai Modern, p. 188). Chen Qiucao. Sawing Wood. 1936. Oil on canvas; 67 x 67 cm. National Art Museum of China, Beijing. (Shanghai Modern, p. 189). Chen Qiucao. Flowers in the Trenches. 1940. Oil on canvas; 45.6 c 61 cm. National Art Museum of China, Beijing. (Shanghai Modern, p. 191) LEFT: Pang Xunqin. Winter. 1931. Oil on canvas; 47 x 36 cm. Private Collection. RIGHT: Qiu Ti, Shanghai View. 1947. Oil on canvasl 46 x 38 cm. Artist’s family. (Shanghai Modern, pp. 194-95). Chen Chengbo. Beach of the Putuo Mountain. 1930. Oil on canvas; 60 x 72 cm. (Shanghai Modern, p. 199). Liu Haisu (1896-1994). Girl Draped in Fox Fur. 1919. Oil on canvas; 60 cm x 45.5 cm.
    [Show full text]
  • Jean-Auguste-Dominique Ingres, Attr., Seated Male Nude Seen from the Rear, First Decade of the Nineteenth Century (?)
    Philippe Cinquini Jean-Auguste-Dominique Ingres, attr., Seated Male Nude Seen from the Rear, first decade of the nineteenth century (?) Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020) Citation: Philippe Cinquini, “Jean-Auguste-Dominique Ingres, attr., Seated Male Nude Seen from the Rear, first decade of the nineteenth century (?),” Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020), https://doi.org/10.29411/ncaw.2020.19.1.5. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. License: This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License Creative Commons License. Cinquini: Jean-Auguste-Dominique Ingres, attr., Seated Male Nude Seen from the Rear Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020) Jean-Auguste-Dominique Ingres, attr., Seated Male Nude Seen from the Rear, first decade of the nineteenth century (?) by Philippe Cinquini During the winter of 2019–20, the Shanghai Museum hosted a major loan exhibition of late eighteenth-century and early nineteenth-century French academic art called La Naissance des Beaux-Arts (The Birth of the Fine Arts). [1] To the eighty-five works borrowed from France, the Shanghai Museum was able to add a single work from its own collection: an academic drawing of a seated male nude, probably dating from the early years of the nineteenth century (fig. 1). The drawing, long attributed to Jean-Auguste-Dominique Ingres, has been in the possession of the museum since 1977, but it had never been shown by the institution before.
    [Show full text]
  • 1 Xu Beihong
    1 The Asian Modern © John Clark, 2013 Xu Beihong (1895-1953) Chronology of Xu Beihong [simplified after Boorman, 1967-79; Wang & Xu, 1994 [the most detailed chronology]; Low &Chow, 2008; Xu & An, 2009] 1895 July 19, born in Jiangsu, father a schoolmaster and craftsman who taught painting, family of three boys and one girl. 1904 began to study painting with father, copied Wu Youru’s illustrations for lithographic pictorial Dianshizhai Huabao. 1908 fled from flood in Yiying with father. 1912 father ill, went to Shanghai and studied Western painting at Shanghai Drawing and Fine Arts Academy but left after several months due to lack of money. Returned to Yixing, where married due to parental order. Became painting and drawing instructor at a middle school. 1913 1914 father died, went to Shanghai. 1915 went back to Shanghai did illustrations and advertising. First met Jiang Biwei 将碧微, began study of French. Asked Gao Jianfu and Gao Qifeng for instruction. 1916 met painter and educationalist Zhou Xiang. Entered Zhentan University (Université Aurore), continued study of French. 1917 First wife died of illness. Married Jiang Biwei, with whom later two children. May, went to Tokyo with Jiang Biwei where studied painting until November when returned to Shanghai because could to pay his expenses. December, Kang Youwei wrote him a letter of introduction to Beijing. 1918 January, received a scholarship from North Sea Government in Beijing to study in France. March early, through Cai Yuanpei (1868-1940) became tutor at Painting Research Institute of Peking University. 1919 March 20, left Beijing with Jiang Biwei for France.
    [Show full text]
  • UC San Diego Electronic Theses and Dissertations
    UC San Diego UC San Diego Electronic Theses and Dissertations Title Abstract Art in 1980s Shanghai / Permalink https://escholarship.org/uc/item/16g2v1dm Author Jung, Ha Yoon Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Abstract Art in 1980s Shanghai A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History, Theory, and Criticism by Ha Yoon Jung Committee in charge: Professor Kuiyi Shen, Chair Professor Norman Bryson Professor Todd Henry Professor Paul Pickowicz Professor Mariana Wardwell 2014 The Dissertation of Ha Yoon Jung is approved, and it is acceptable in quality and form for publication on microfilm and electronically. ____________________________________________________________________ ____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Chair University of California, San Diego 2014 iii TABLE OF CONTENTS Signature Page ………………………………………………………………....……. iii Table of Contents ………………………………………………………….…...……. iv List of Illustrations …………………………………………………………………... v Vita ……………………………………………………………………….……….… vii Abstract ……………………………………………………….………………..……. xi Chapter 1 Introduction ……………………………………………………….……………….. 1 Chapter 2 Abstract
    [Show full text]
  • Urban Demolition and the Aesthetics of Recent Ruins In
    Urban Demolition and the Aesthetics of Recent Ruins in Experimental Photography from China Xavier Ortells-Nicolau Directors de tesi: Dr. Carles Prado-Fonts i Dr. Joaquín Beltrán Antolín Doctorat en Traducció i Estudis Interculturals Departament de Traducció, Interpretació i d’Estudis de l’Àsia Oriental Universitat Autònoma de Barcelona 2015 ii 工地不知道从哪天起,我们居住的城市 变成了一片名副其实的大工地 这变形记的场京仿佛一场 反复上演的噩梦,时时光顾失眠着 走到睡乡之前的一刻 就好像门面上悬着一快褪色的招牌 “欢迎光临”,太熟识了 以到于她也真的适应了这种的生活 No sé desde cuándo, la ciudad donde vivimos 比起那些在工地中忙碌的人群 se convirtió en un enorme sitio de obras, digno de ese 她就像一只蜂后,在一间屋子里 nombre, 孵化不知道是什么的后代 este paisaJe metamorfoseado se asemeja a una 哦,写作,生育,繁衍,结果,死去 pesadilla presentada una y otra vez, visitando a menudo el insomnio 但是工地还在运转着,这浩大的工程 de un momento antes de llegar hasta el país del sueño, 简直没有停止的一天,今人绝望 como el descolorido letrero que cuelga en la fachada de 她不得不设想,这能是新一轮 una tienda, 通天塔建造工程:设计师躲在 “honrados por su preferencia”, demasiado familiar, 安全的地下室里,就像卡夫卡的鼹鼠, de modo que para ella también resulta cómodo este modo 或锡安城的心脏,谁在乎呢? de vida, 多少人满怀信心,一致于信心成了目标 en contraste con la multitud aJetreada que se afana en la 工程质量,完成日期倒成了次要的 obra, 我们这个时代,也许只有偶然性突发性 ella parece una abeja reina, en su cuarto propio, incubando quién sabe qué descendencia. 能够结束一切,不会是“哗”的一声。 Ah, escribir, procrear, multipicarse, dar fruto, morir, pero el sitio de obras sigue operando, este vasto proyecto 周瓒 parece casi no tener fecha de entrega, desesperante, ella debe imaginar, esto es un nuevo proyecto, construir una torre de Babel: los ingenieros escondidos en el sótano de seguridad, como el topo de Kafka o el corazón de Sión, a quién le importa cuánta gente se llenó de confianza, de modo que esa confianza se volvió el fin, la calidad y la fecha de entrega, cosas de importancia secundaria.
    [Show full text]
  • The Art Market in 2020 04 EDITORIAL by THIERRY EHRMANN
    The Art Market in 2020 04 EDITORIAL BY THIERRY EHRMANN 05 EDITORIAL BY WAN JIE 07 GEOGRAPHICAL BREAKDOWN OF THE ART MARKET 15 WHAT’S CHANGING? 19 ART BEST SUITED TO DISTANCE SELLING 29 WHO WAS IN DEMAND IN 2020? AND WHO WASN’T? 34 2020 - THE YEAR IN REVIEW 46 TOP 500 ARTISTS BY FINE ART AUCTION REVENUE IN 2020 Methodology The Art Market analysis presented in this report is based on results of Fine Art auctions that oc- cured between 1st January and 31st December 2020, listed by Artprice and Artron. For the purposes of this report, Fine Art means paintings, sculptures, drawings, photographs, prints, videos, installa- tions, tapestries, but excludes antiques, anonymous cultural goods and furniture. All the prices in this report indicate auction results – including buyer’s premium. Millions are abbreviated to “m”, and billions to “bn”. The $ sign refers to the US dollar and the ¥ sign refers to the Chinese yuan. The exchange rate used to convert AMMA sales results in China is an average annual rate. Any reference to “Western Art” or “the West” refers to the global art market, minus China. Regarding the Western Art market, the following historical segmentation of “creative period” has been used: • “Old Masters” refers to works by artists born before 1760. • “19th century” refers to works by artists born between 1760 and 1860. • “Modern art” refers to works by artists born between 1860 and 1920. • “Post-war art” refers to works by artists born between 1920 and 1945. • “Contemporary art” refers to works by artists born after 1945.
    [Show full text]
  • Searching for Yield in Real Assets
    ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Searching for yield in real assets https://eprints.bbk.ac.uk/id/eprint/40263/ Version: Full Version Citation: Velez, Tara Michelle (2017) Searching for yield in real assets. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email Searching for Yield in Real Assets Tara Michelle Velez PhD Thesis Birkbeck, University of London 22nd June 2017 1 Abstract Three empirical chapters addressing investments in real, alternative assets are presented in this thesis. Chapter 2 focuses on fine art as an investment. In recent years, the art market has been characterized by final auction prices greatly exceeding the ex- ante estimates published by international auction houses. We define this difference as a rarity premium and build a ‘Rarity Index’ by aggregating the premia relative to the mean. We also investigate the benefits, outside financial performance, associated with art ownership and introduce the term of ‘ownership yield’, meant to encapsulate both aesthetic yield and features of conspicuous consumption. This ownership yield may account for the large differences between the values of rarity indexes we construct for three famous families of paintings over the period 2003 to 2013. In Chapter 3, we turn our attention to residential real estate in alpha cities. We argue that relative price changes in prime property markets have greatly deviated from non-prime markets on a national level, while similarities across prime markets in different countries have increased.
    [Show full text]
  • 1. an Introduction to the Development of Western Painting. When Did People Start Painting?
    Hong Kong Visual Arts Appreciation – Web-based course for secondary school teachers (Painting) Author: Ivy LIN 1. An Introduction to the Development of Western Painting. When did people start painting? This question is fundamental yet complex. In the West, the earliest known wall paintings from as early as 15,000-10,000 B.C. were discovered in the Altamira Cave in Spain (Fig. 1) and in the Lascaux Cave in France (horse) (Fig.2). These wall paintings demonstrate how people from the Stone Age began painting vivid and life-like representations of objects through careful observation. Primitive Western paintings were used in religious rituals, and as painting developed, religious art became central to Western art. Most ancient Western paintings were painted on vessels or on the walls of caves. They had several functions: chronicling history, glorifying certain deeds and prayer. Stone Age cave paintings principally depict scenes of herding and hunting, whereas paintings on tomb walls from the Egyptian and Assyrian Empires show mythological representations and scenes of everyday reflecting man’s quest for eternal life. The introduction of the “foreshortening” technique1 (Fig. 3) in early Greek art marked one of the major accomplishments of Archaic Greek art. It laid the foundation for perspective adopted by later painters and paved the way for the use of an objective, rational and analytic method to represent nature. The Roman Empire adopted the fine artistic traditions of Greece as exemplified by Christian painting which began to flourish in Europe during the time of Emperor Constantine. Byzantine mosaic art was followed by Gothic stained glass in the Middle Ages.
    [Show full text]
  • Art Market Trends 2010
    ART MARKET TRENDS 2010 TM THE WORLD LEADER IN ART MARKET INFORMATION Art Market Trends 2010 p 5. Editorial p 7. Roller coaster p 8. Post-War and Contemporary Art in the global market p 8. 2010: Renewed competition p 10. A mixed return for Contemporary signatures: the “successes” of Hirst, Murakami and Koons p 12. China: the new global leader p 13. New York vs. Beijing p 14. Catching up on Old Masters and imposing their Contemporary artists p 15. France’s place in the art world: doomed to decline p 18. Art Market Confidence Index – 2010, a positive year p 21. Twitter: 2010 in 140 characters p 22. Top 10 Artists p 30. Top 100 auction performances in 2010 p 32. Top 500 artists by auction revenue in 2010 3 ART MARKET TRENDS 2010 Editorial In the words of Thierry Ehrmann, the After the previous art market meltdown founder and CEO of Artprice, the world in 1991, it took 4 years of patience before leader in art market information, China’s prices began to recover. This time round it accession to the lead- took only 18 months. ing position in global Fine Art sales repre- During the past decade, two strong sents an “electroshock trends have emerged: firstly we have seen in the history of the a veritable mutation in the commerce of global art market...”. art. The market’s structure has changed It took just three years with the evolution of Internet (with the ac- for China to jump celeration of online sales), the competition from third place (pre- generated by the more than 2601 art fairs Thierry Ehrmann viously occupied by organised each year around the world and France) in 2007 to first place in 2010, ahead the importance of investors and invest- of the UK and the USA, the grand masters ment funds in the market.
    [Show full text]
  • Art Museum Education in China: the NAMOC Case Study
    Art Museum Education in China: The NAMOC Case Study Dr. YANG Yingshi Deputy Director Public Education Department National Art Museum of China This paper examines the new trends of art museum education in China, taking the National Art Museum of China (NAMOC) as a primary example. The first part discusses art museums as educators in the global context, noting the fact that the growing importance of the public educational role of museums has emerged to be a focus of wide concern among scholars, museum professionals and government officials worldwide. The second part introduces art museums as educators in China, reviewing the history of museums and art museums as well as their increasingly active roles as educators to the general public. Also touched is the emergence of art museum education as a professional field in the country. The third part gives a detailed description of the public educational programs of the NAMOC. This part particularly presents four major areas of the museum’s educational work: academic and adult programs; children, school and family programs; volunteer programs; and collaboration with other institutions. The paper also points out the opportunities and challenges brought about by the free admission policy and the construction of the new museum building of NAMOC. The conclusion part shares some thoughts on art museum education in China. I. Art Museums as Educators: An Introduction For what purposes does a museum exist, and what is its first and primary purpose? The most recent (2007) definition of “museum” according to International Council of Museums (ICOM) statues is: “A museum is a non-profit, permanent institution in the service of society and its development, open to the public, which acquires, conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment” (ICOM Website, 2008).
    [Show full text]
  • Sdbwgysyqz.Pdf
    定价:360.00元 ბፇॺܾๆዜ౎ٷ൪ጁႎฉ࡛ CELEBRATION FOR THE 20TH ANNIVERSARY OF THE FOUNDING OF NEW SHANGHAI UNIVERSITY ᬝᮻ̎ ˟ᎄ TAO FEIYA CHIEF EDITOR 002 㿓䄜 ĄᎲ⺉᫜̶⊣๓႒㏰ᐦθ࡭ঔᎠ喝̶⊣๓႒ࢆ➕亲㞦ᱛ䖬䄣ᆁą᭛̶⊣๓႒ࢆ➕亲౔⇖̶㞦 ᱛ⩸⮰仂⁍ϚⰤȠ ᱘⁍࣮ᆁ⮰㞦ᱛტ喏ᬌ䃦᭛ܦ⩋κ ͂㏖θ̵࡭ᎠЏȟผह᭪䊗⮰㞦ᱛ๓ტ喏䔄᭛ᑿ϶㞦ಇ ͙≭ⵑᴝ⮰ ȟ ऺ喏ួᝂᎠ䒧㇪䔇⮰ ȟ ऺ喏ЂИ౔⩋঩͙⮰᳼⃡ᬢ䬠䘩̶̺⊣๓႒ᰵⱬ㉓ ჲ⮰㖀㈧喏ᝂ᭛጑҈Ч᪅喏ᝂ᭛႒Ό⌝䕌喞Ꭲ̀喏䔅⻹㖀㈧̬Ⱐᐢ㐙ݜβ϶๕喏ጴ⩋ͷ䬠ȟस႒ͷ 䬠⮰㞦ᱛϐ≭Ϟܳ㔸ಒ䄆喏Ⱔᥦ䬚䕿喏Ⅾ㉎̹₎Ƞ ᪇̹๝ڱ᭛̬Ꮣᐬᩪ⮰೺ጮ喏Ⴏᝬ⠘ᰵ⮰䲕঩ᕓȟ࠱ქᕓБࣶᬢᅆᕓ喏ᒎ᜼β̶⊣㒺ᱛ⊢̶ ๓⅀ȟᎰ䛹̹๝䆖䓴⮰㞦ᱛ৭ᵨȠₐ⁍ᆁܦ⮰҈৭喏ь㐋̺⣜Џȟ͈᫥̺㺫᫥ȟಆႴ̺݇᫜喏ϐ㏳ 䲎౜ᆁ⹦β̶⊣㞦ᱛტ౔ᑿЏᣎ㉎⮰䲎䆸Ƞڔႄ喏Ⱔξⷜ᧊喏ॴ⣜βๆᵣȟ凈ᬺ⮰䷺ᵨ喏䒯ͦڝ β̬๓ឥф⻬⮰㞦ᱛϦ᝹喏ᰵ߇౜ᣔߔβ̶⊣㒺ᱛη͆ڧπ࡭ๆᎠᲑ喏̶⊣๓႒㒺ᱛ႒䮎ഥ 喏͆͆ڎڎ⮰ࣽᆁȠ᜽⌝⌝ᙋᔬκ⃹ᵍ౔㞦ᱛ̶ᄥ᜽⮰ᠳᑁ喏̵࡭Ꭰຮ̬ᬑ喏౔㞦ᱛᣎ㉎⮰䕿䌛̶ Ꭲ໷㏴ႄᰵ᪘⩻ͷᓯȠ স㞦ᱛⵀΌ⮰䕿䌛̶䊜ᓃᰠߌಆ჆ȟ⽟֑喏ጸ᱇̶⊣๓႒ڧᰬऺ喏⺉ᙫ̶⊣๓႒౔㞦ᱛϦ᝹ഥ ࢆ➕亲̹᫙ᣔܦф⻬ᆁ㻴喏ᠭ㐙ᩢ㫻⊣̶㞦ᱛҟ҈Ƞ 㬊⫔㸘 ͙఩㒺ᱛტࡻцޛͧፙ ̶⊣ጮ᪳㖀ͧፙ ̶⊣ጮ㒺ᱛტࡻцͧፙ Ꭰ ᰴ 003 Preface ĉ The Invitation Art Exhibition of Shanghai University Museum is the debut of the museum in the art circles of Shanghai. Whether they are distinguished masters born during the second and third decades of the 20th century, or the mainstays born in 0s and 0s, or the ambitious generation of their forties and Ņfties, all of the SarticiSating artists are closely related to Shanghai University in means of ZorNing, teaching or studying. Whatģs more, the relationshiS is still tight today, Zhich maNes it Sossible for the teachers and students to communicate kindly and sincerely with each other in order to searching for the Muse of art.
    [Show full text]
  • Zhang Chongren and Tushanwan Chen Youwang in Shanghai, at The
    Zhang Chongren and Tushanwan Chen Youwang In Shanghai, at the riverside near Zhaojiabang, south of Xujiahui, many years of dredging had piled tons of river mud in a bend on the river. Eventually, this formed a small hill which people called Tushanwan (‘wan’ means ‘bay’, Tushanwan means a bay formed by local soil’). In 1864, the Catholic Church leveled part of the hill and on the site built a massive and well-equipped orphanage named the Tushanwan Orphanage. That was 140 years ago. By now, the name of Tushanwan has long since vanished and been forgotten. The main building and all other construction extensions, after more than half a century of urban development, have been entirely replaced by sweeping highways and skyscrapers. The only building remaining, which has witnessed so many changes and all vicissitudes in life through all these years, is a three-storey red brick house. It was built by the elderly Mr. Ma Xiangbo 马相伯 and was the main school building in the Orphanage, now located on Pu Hui Tong Road. Tushanwan has certainly been a window for West meeting East, because a great number of innovations, new handicrafts and modern techniques originated here in this part of China. Tushanwan has been the cradle for many early Western-style painters, sculptors and photographers. Among them, Zhang Chongren 张充仁 was by all means one of the most prominent artists yet his childhood growing up in Tushanwan is known to few. This great artist, Zhang Chongren, was born in China in the early twentieth century. He became one of the founders of modern Chinese sculpture, as famous as Liu Kaiqu 刘开渠.
    [Show full text]